Buy this album, it comes with a plethora of new artwork by Adric Giles, and it also includes the realist music you've ever heard :
The reviews are in : ✩✩✩✩✩ (5 out of 5 stars ((that's all the stars)) Crypt of K'abaa'r RPG available now featuring watercolor/illustrations by Adric Giles ✩☭★鮇
A Torchbearer adventure for 3-5 players of 1st-3rd levels
High in the steppes of Barbaria, the epics tell of Khaab’r, a brave and fearsome wanderer who rose to become King of his tribe. His dagger, Tiger’s Tooth, was his constant companion throughout his legendary exploits. During his daring moonlight raid of High Hollow, it was Tiger’s Tooth that silenced the lookouts. When he was captured by the army of Sanction, it was Tiger’s Tooth that cut the rope binding his wrists. Throughout the rest of his life, Tiger’s Tooth was there, hanging at his hip or gripped in his fist—a symbol of his strength and cunning. When Khaab’r died, Tiger’s Tooth was placed in his crypt to serve him in the afterlife.
Centuries have passed. Khaab’r’s tribe has settled down, building a town on the shores of the great Khor’aat lake. Now foreigners arrive daily in Shaa Khor’aat—merchants and mercenaries alike—seeking their fortunes in this once remote trading post.
Ka’mara, the elderly King of the Khor’aat tribe and descendant of Khaab’r himself, has sent out a call to all willing adventurers in the town: retrieve Tiger’s Tooth and bring it to him, so that it may aid him as it did his storied ancestor. The locals believe Khaab’r’s tomb is cursed, and they fear the goblins that reside in the Canyon of Spirits. But outsiders, handy with wit and steel, may be right for the job.
The Crypt of Khaab'r is a 32-page, lavishly-illustrated dungeon delve and accompanying settlement written by Ryan Browne. It's a brutal, traditional dungeon delve with a focus on the interplay between an ancient crypt and the thuggish settlment nearby — a perfect recipe for the Torchbearer campaign format.
C̷͕͕̟̝̳̫̰͖͚̘̠͉̲̦̞̳ͨ͒ͩ̀ͧ̓ͭ̇̋͒́̃ͨ̏ͅL̬̬̀̾̋̉͆͋ͤ̓̍̅̅͒͗̊̀͠͝ͅI̻̻͔̯̟̜̬̱̜̺͉ͫ̃ͮ̆͘͞Ć̛͚̱̳̖̹̘̲͇̹͔̩͖̙̗̻̝̆̇ͦ̚͘͜͞K̨̢̥͔͔͇̣̮͔̭͔̝̳͐͗ͨͥ̒ͮ̈̒͂̾̋ͣ͗ ̶̴͔̝̳̲͚̼̞͇͕̲͎̞͎͕͔ͬͬ̾̓ͨ̿ͬͥ̍̋͊̅͊͐ͨTHANK YOU FOR VISTING T͇͕̥̳͈̥͕̝̼̣͎̩͕͚͉̔ͯͥͨ͊ͬͩ͑̊ͮ͑̍̈́̂̎͘͠͡H̶̸̜̩̳̘͕̬̩͇̫̞ͬ͑͐͆̔ͨͮ̈́̌͑͛̆ͯ̔̊ͬ͛́̚͢Ḭ̶̰̪͎͎̟̤͖̳̫ͤ͐̋̂̊̂͂̑̋͐̒ͫ̈͋͡S̷͖̞̦͚̳̮̗͈̦̮̩̮̹̉̋̿ͤ̏ͯ̈́̉̎͒̈́̀͘͠ͅͅ
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~ And ~
Do something nice for a change and help fund these helmets, they have my artwork on them and will be donated to skate parks around New England in the Spring of 2017.
17 May 1960
reprinted in Internationale Situationniste #4 (June 1960)
Translated by Fabian Thompsett
THE EXISTING FRAMEWORK cannot subdue the new human force that is increasing day by day alongside the irresistible development of technology and the dissatisfaction of its possible uses in our senseless social life.
Alienation and oppression in this society cannot be distributed amongst a range of variants, but only rejected en bloc with this very society. All real progress has clearly been suspended until the revolutionary solution of the present multiform crisis.
What are the organizational perspectives of life in a society which authentically "reorganizes production on the basis of the free and equal association of the producers"? Work would more and more be reduced as an exterior necessity through the automation of production and the socialization of vital goods, which would finally give complete liberty to the individual. Thus liberated from all economic responsibility, liberated from all the debts and responsibilities from the past and other people, humankind will exude a new surplus value, incalculable in money because it would be impossible to reduce it to the measure of waged work. The guarantee of the liberty of each and of all is in the value of the game, of life freely constructed. The exercise of this ludic recreation is the framework of the only guaranteed equality with non-exploitation of man by man. The liberation of the game, its creative autonomy, supersedes the ancient division between imposed work and passive leisure.
The church has already burnt the so-called witches to repress the primitive ludic tendencies conserved in popular festivities. Under the existing dominant society, which produces the miserable pseudo-games of non-participation, a true artistic activity is necessarily classed as criminality. It is semi-clandestine. It appears in the form of scandal.
So what really is the situation? It's the realization of a better game, which more exactly is provoked by the human presence. The revolutionary gamesters of all countries can be united in the S.I. to commence the emergence from the prehistory of daily life.
Henceforth, we propose an autonomous organization of the producers of the new culture, independent of the political and union organizations which currently exist, as we dispute their capacity to organize anything other than the management of that which already exists.
From the moment when this organization leaves the initial experimental stage for its first public campaign, the most urgent objective we have ascribed to it is the seizure of U.N.E.S.C.O. United at a world level, the bureaucratization of art and all culture is a new phenomenon which expresses the deep inter-relationship of the social systems co-existing in the world on the basis of eclectic conservation and the reproduction of the past. The riposte of the revolutionary artists to these new conditions must be a new type of action. As the very existence of this managerial concentration of culture, located in a single building, favors a seizure by way of putsch; and as the institution is completely destitute of any sensible usage outside our subversive perspective, we find our seizure of this apparatus justified before our contemporaries. And we will have it. We are resolved to take over U.N.E.S.C.O., even if only for a short time, as we are sure we would quickly carry out work which would prove most significant in the clarification of a long series of demands.
What would be the principle characteristics of the new culture and how would it compare with ancient art?
Against the spectacle, the realized situationist culture introduces total participation.
Against preserved art, it is the organization of the directly lived moment.
Against particularized art, it will be a global practice with a bearing, each moment, on all the usable elements. Naturally this would tend to collective production which would be without doubt anonymous (at least to the extent where the works are no longer stocked as commodities, this culture will not be dominated by the need to leave traces.) The minimum proposals of these experiences will be a revolution in behavior and a dynamic unitary urbanism capable of extension to the entire planet, and of being further extensible to all habitable planets.
Against unilateral art, situationist culture will be an art of dialogue, an art of interaction. Today artists — with all culture visible — have been completely separated from society, just as they are separated from each other by competition. But faced with this impasse of capitalism, art has remained essentially unilateral in response. This enclosed era of primitivism must be superseded by complete communication.
At a higher stage, everyone will become an artist, i.e., inseparably a producer-consumer of total culture creation, which will help the rapid dissolution of the linear criteria of novelty. Everyone will be a situationist so to speak, with a multidimensional inflation of tendencies, experiences, or radically different "schools" — not successively, but simultaneously.
We will inaugurate what will historically be the last of the crafts. The role of amateur-professional situationist — of anti-specialist — is again a specialization up to the point of economic and mental abundance, when everyone becomes an "artist," in the sense that the artists have not attained the construction of their own life. However, the last craft of history is so close to the society without a permanent division of labor, that when it appeared amongst the SI, its status as a craft was generally denied.
To those who don't understand us properly, we say with an irreducible scorn: "The situationists of which you believe yourselves perhaps to be the judges, will one day judge you. We await the turning point which is the inevitable liquidation of the world of privation, in all its forms. Such are our goals, and these will be the future goals of humanity."
Mobius presents <3RAGES: A Post-Love Party, featuring five hours of live work by over 30 established and emerging artists.
Animal Hospital Ensemble
Liz Roncka, Yuka Takahashi & Jason Sanford
Emile Tobenfeld (a.k.a Doctor T) Tom Plsek, Randy Pingrey and John Voigt
SHROUD [BATHAUS & Vela Phelan]
Lo Gallucio with John Voigt and Tom Plsek
Anna Wexler & Marie Lalevee
Tom Plsek & Randy Pingrey's trombone sandwiches
This is an all ages event. Valid ID required to purchase alcohol.
Mobius (est. 1977) is a nonprofit, artist-run organization, whose mission is to generate, shape and test experimental art. The members of the organization believe an effective strategy for supporting this art is to establish grounds that build relationships among fellow artists. Mobius is committed to structuring environments that foster projects incorporating a wide range of disciplines. This approach sets in motion situations where the artist's impact can be seen locally, nationally and internationally. Constructing art initiatives outside accepted frameworks and encouraging animated discourse with the public are fundamental to Mobius.
GRIT: The Urban Landscape
September 12 - November 1, 2014
[Upper & Lower Galleries]
[Upper & Lower Galleries]
opening reception: Friday, September 12, 2014 5:30 - 7:30pm
PAUL HA :
DIRECTOR OF MIT'S LIST VISUAL ARTS CENTER
"In respecting the Copley Society's curatorial vision for GRIT, I decided that these artists in the exhibition met their criteria the best. The artists chosen convinced me that though the urban area that surrounds, overwhelms, and confronts us each and everyday can be the grit in our lives, that we all can also find moments of unparalleled beauty and solace from that same exact environment. The exhibition proves that Boston is alive in the arts and that contemporary artists are out there every day using our great city as their inspiration and gives us a different way to look and experience our city."
FEATURED ARTISTS :
Abiko, Aquilino, Baker, Belkakis, Bridges, Caemmerer, Campbell, Carland Cherubini, Choi, Connelly, Cook, Craig, Curran, Czerniejewski, Davis, Fan, Felton Ferry, Fisher, Flood, Foote, Fortini-Wright, Francis, Giles, Holiday, Holtz & Zadikow Hoon, Kemler, Kendrick, Krim, Lauric, Lickwar, Marshall, Michals, Peterson, Phelan Quintana, Stasiorowski, Weiss
"...Adric Giles's "Confined" shows a figure so twisted and contorted into the squarish space of the panel he is painted on, his neck looks like a corkscrew..."
J.Wardwell, Boston Globe
J.Wardwell, Boston Globe
Atlantic Works Gallery is pleased to present ENGENDERED, an exhibition conceived and curated by Samantha Marder.
June 7, 2014 through July 7, 2014
Opening Reception - Saturday, June 7 6-9 pm
3rd Thursday Reception - June 19 6-9 pm
ENGENDERED explores how gender is variously perceived, running the gamut from the literal to the abstract. In a variety of media, ENGENDERED depicts aspects of the gender spectrum which may be clearly defined, fluid or ambiguous. The context may be biological, political, spiritual or sexual as well as personal statements of self identity, imposed identity or perceived identity. Anxiety, serenity, humor, and indifference, profundity and superficiality, may all be evident in these collected works.The show includes the work of twenty American artists responding to the subject of gender.
Atlantic Works Gallery - 80 Border Street - E. Boston 02128
Here's an article about the show from Artscope Magazine
Here's an article about the show from Artscope Magazine
In fact it is very difficult to appreciate the full value of the various elements when confronted by them. It can even be said to be impossible to appreciate them at the first reading. These elements are outwardly as strange to you who have written them as to anyone else, and you are naturally distrustful of them. Poetically speaking, they are especially endowed with a very high degree of immediate absurdity. The peculiarity of this absurdity, on closer examination, comes from their capitulation to everything — both inad- missible and legitimate - In the world, to produce a revelation of a certain number of premises and facts generally no less objective than any others.
From Le Manifeste du Surréalisme, 1924